FALMOUTH – I’ve seen and performed in many Sondheim productions over the years, and I think I can safely say that all of them were uniquely challenging. Sitting on my parent’s living room sofa, I eventually memorized all the lyrics to “West Side Story.” I guess Sondheim was in my blood even back then.

The College Light Opera Company closes its 46th season with a standard rendition but very professional approach to one of Sondheim’s more complicated musicals, “Into the Woods,” now running at Highfield Theatre in Falmouth.

It tells the original story of a childless baker and his wife in their quest to start a family. They have been cursed by a witch who orders them to collect several ingredients in an effort to break the curse. The show intertwines several plots and characters from the Brothers Grimm fairy tales,including “Little Red Riding Hood”, “Cinderella” and “Jack and the Beanstalk,” whom the Baker and his wife encounter as their journey for the required items unfolds.

It’s a unique premise, and under the skillful direction of Corin Hollifield, the show keeps a brisk pace. One of its biggest assets is the set, designed by Matthew Imhoff, with an imposing tree, complete with fog machine, multi staging levels and an eye-catching woodland backdrop. It immediately creates the mood and captures attention upon entrance into the theater.

As usual, it is always a treat to enjoy the CLOC orchestra, although modulating sounds levels was a bit tricky on opening night, with all of the different vocals delivered from various areas of the stage. Performers with lower vocal registers needed to more forcefully project to be heard completely.

It’s a big cast and everyone gets their chance to shine, even Jack’s cow, Milky White, embraced by Nathan Kistler, who gives a wonderful quivering lower jaw sad face as his ownership is transferred from Jack to the Baker.

There are so many comedic moments and one-liners that almost everyone gets a laugh at some point, but there are some standouts.

As Rapunzel’s and Cinderella’s princes, Joshua Gronlund and Michael McCann have true comic genius. They both affect their princely gaits with such dramatic flair that I still chuckle even as I write this. Their duet “Agony” is hilarious as they generously emote their pain in search of the perfect princess.

Equal to the comedic task is Maggie Langhorne as Little Red Riding Hood. She’s an Annie Oakley type who’s surprisingly adept at fending for herself. Her droll quips and casual asides earn some of the bigger laughs of the show.

Jens Jacobson has the brief but coveted role of the Wolf. His lascivious and hungry lust for Red Riding Hood is very amusing. He has a great bass voice but needs a little more force to pump up the volume for maximum effect.

The Baker and Baker’s wife, earnestly played by Nick Martiniano and Caitlin Ruddy, effectively complement each other as they wrestle with how to obtain certain items to lift the witch’s curse and have a child. They have some truly dramatic and emotional moments and provide the plot with needed doses of moral behavior. Rebecca Jackson as Cinderella has a gorgeous voice, especially in “No One is Alone.” She projects a sweetness in her portrayal that adds dimension that I’ve not seen before in previous versions of this show. She, like Jacobson, can be a little tough to hear in softer moments, and both have voices that you do not want to miss.

As the Witch, Lindsay Cabaniss has the right look, although a dingier cloak in Act 1 might seem more appropriate and serve as a more stark contrast to her elaborate attire in the Act 2 after her transformation. Cabaniss has a great voice and overall does a commendable job.

But at the risk of the proverbial tomato thrown in my direction, here’s my commentary: The Witch is a big character, one of the few overtly serious roles although she has a few lighter moments, and she needs to command the stage more than any other character whenever she’s on it.

Given her talent, Cabaniss should crank up the big factor with more exaggerated gestures, threatening countenance and vocal projection.

That said, CLOC has ended its season in fine fashion with a show of which it should be quite proud. I look forward to a Season 47 with more amazing performances.